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There was nothing remarkable about the symbol — a fissured, blue and white globe reminiscent of a basketball — but it worked.
Had Pan Am survived, I suspect that globe would still be around.
Since the dawn of civil aviation, airlines have been devising and revising what they believe to be meaningful identities. As explored by author Keith Lovegrove in his superb volume Airline: Identity, Design, and Culture, the logo represents only a slice of this overall branding process, which takes place on a score of fronts, from cabin interiors to crew attire to the color of maintenance vehicles.
Everything else revolves around this. Many of the most renowned airline insignia incorporate national symbols or cultural associations: But while symbolism is optional, simplicity, on the other hand, is a must.
It has been said that the true test of a logo is this: Maybe they need a tweaking or two over time, but the template of such trademarks — the really good ones — remains essentially timeless. With its proud, cross-winged Jet blue 2 essay, this was one of the most distinctive and enduring icons in all of aviation.
Created by Massimo Vignelli init always looked modern. Symbolically lifeless and hideous to boot, it looks like a linoleum knife cutting through a shower curtain. For more on this travesty, see here.
Take the case of cargo giant UPS. The original United Parcel Service emblem featured a bow-tied box and heraldic-style badge—the work of Paul Rand, a legendary design guru who also did logos for Westinghouse and IBM. Postal Service came up with that monsterized eagle head. No less disappointing was the elimination of the tsurumaru, the red and white crane motif worn by Japan Airlines.
Sinceevery JAL aircraft featured what was possibly the most elegant airline logo ever conceived: Beginning inthis ageless symbol succumbed to what had to be the most regrettable makeover in industry history, replaced by an oversized, blood-red blob—a rising splotch—oozing across the tailfin. Apparently enough people complained, however, and the tsurumaru has been resurrected.
A similar tragedy struck at Northwest Airlines several years ago. Unveiled inthis was a work of genius. It was an N; it was a W; it was a compass pointing toward the northwest. Byit was in the waste can, bastardized into a lazy circle and small triangular arrow.
Past tense, and good for that: Northwest and its ruined colophon no longer exist, having been folded into Delta Air Lines. The widget says one thing and says it without a hint of fuss or pretension: Aeroflot gets a mention here too. It was designed in by a twenty-two-year-old Iranian art student named Edward Zohrabian and has been used ever since.
An airplane is a very large canvas on which to make or break your statement. Enter the paint bucket. Decades ago, Braniff International was famous for dousing whole planes in solid colors — blues, greens, even powder pastels. Traditional paintjobs approached these surfaces separately, while contemporary ones strive to marry body and tail in a continuous canvas.
There was a time when virtually every hull was decorated by horizontal striping, a custom now gone the way of those drive-up stairs and fancy inflight meals.
With a stripe-less fuselage, the tail becomes the focal point. Some airlines, such as Qantas, rely on powerful fin markings that carry the entire aircraft.
Others, such as Emirates, balance tail and fuselage through the use of oversized, billboard-style lettering. Still others go for a flying warehouse extreme — an empty white expanse with few details aside from a capriciously placed title.
But the dominant theme in liveries these days is one of motion. There are enough streaks, swishes, arcs, twists, swirls, and curls out there to make anybody dizzy.
And most of them, sadly, are indistinguishable from one another—overwrought, gimmicky, and self-conscious. The creative types smile, nod, secretly stab themselves with their X-Acto knives. Airplanes blur together in a palette of motion-themed anonymity.
Airline executives drop in a million dollars worth of consulting coins, and out pops another curvy-swervy variant of the GMST.JetBlue Airways Corporation, stylized as jetBlue, is an American low-cost airline headquartered in New York City.A major air carrier and the sixth-largest airline in the United States, JetBlue is headquartered in the Long Island City neighborhood of the New York City borough of Queens, with its main base at John F.
Kennedy International regardbouddhiste.com also maintains corporate offices in Cottonwood. Dear Twitpic Community - thank you for all the wonderful photos you have taken over the years.
We have now placed Twitpic in an archived state. Jet Blue Case #1 Essay JetBlue Case Study Team 22 MIS Fall Austin Blake Tyler Richardson Alvin Tsang Carolyn Wanczyk Executive Summary Objective The purpose of this report is to provide the management and stakeholders of JetBlue a plan of action on possible options to increase revenue generated through marketing.
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THERE WAS A TIME, not terribly long ago, when the logo of Pan American World Airways was one of the most recognized commercial trademarks in the world. There was nothing remarkable about the symbol — a fissured, blue and white globe reminiscent of a basketball — but it .
Jet Blue Strategic Management - Executive summary JetBlue was founded by David Neeleman in and is America’s youngest airline flying to over 35 destinations including Caribbean and Atlantic regions.